The Function of the False-self in Production on the Divan: the case of Maria Callas

Abstract

This article exploits some Winnicott’s statements about the function of the false self in processes of artistic creation in scenic arts (theater, opera, etc.) and, to achieve that purpose, it uses Maria Callas’ biographical data. It develops the hypothesis that, when there is some form of communication between the false self and the primary creativity of the true self - even if it is restricted to some domain - artistic creation becomes possible, even when the rest of the personality stays lost, incapable of existing by itself. Keywords: False self; True self; Primary creativity; Dissociation; Opera; Maria Callas.